Make America Hate Again: Trump-Era Horror and the Politics of Fear explores the intersection of film, politics, and American culture and society through a bold critical analysis of popular horror films/TV produced in the Trump era,
such as Green Room (2015); The Witch (2015); Don’t Breathe (2016); The Purge: Election Year (2016); American Gods (2017); American Horror Story (2017); Get Out (2017); and The Handmaid’s Tale (2017).
This collection of essays will explore how popular horror scrutinises and unravels the events, anxieties, discourses, dogmas and socio-political conflicts of the Trump years.
A killer priest is on the rampage across London and an egotistical Hollywood action movie star is out for revenge when his precious comic book collection is stolen. Meanwhile, gangster Marty Cook's dreams of going legit swiftly turn pear shaped when one of his bouncers accidentally kills one of his salsa club's regular customers.
"the many-faceted development of crime fiction during the twentieth century--its shifting protagonists and the fears that drive them, the kinds of crimes investigated or perpetrated, and some of the more significant variations in style, structure and dominant themes"
You can't change the world But you can change the facts And when you change the facts You change points of view If you change points of view You may change a vote And when you change a vote You may change the world
"In much twentieth and twenty--first century crime writing, the protagonist has been a criminal rather than an investigator, and these variations in fact reach back to the parent traditions of crime fiction, before the figure of the detective became so central
--for example, to the criminal exploits catalogued in The Newgate Calendar , the transgressor - centered novels of Defoe and the Gothic fiction that emerged at the end of the eighteenth century.
The trauma of a war--torn landscape is a great distance from the secluded confines of an English country house, and the formal closure of the narrative seems a guarantee of security, but there is much that makes the apparent calm illusory."
"Your world...it's so dirty," I whisper, as if to him in the dark, as if to myself. "How do you live in it?" I hear him laugh softly to himself, and in that laugh are things that are tender and things that are harder, meaner, truer. It is both at once. Always both at once. Die A Little by Megan Abbott
"Man comes into the world a blind, groping mite. He knows hunger and the fear of noise and of falling. His life is spent in flight." 這也太美了吧！我看過改編的電影，但沒看過原著小說。 Nightmare Alley by William Lindsay Gresham
The slippage between investigative and criminal - centered narratives in Thompson and Harris suggests both the difficulty of neatly categorizing the forms of crime fiction and the extent to which the representation of and fascination with transgression perpetually surface to disrupt the reassuring structures of detective fiction.
"The murderous protagonists in these works 'mimic'– and thereby expose – a morally bankrupt society", and the fictions themselves fulfill the roles of moral and social critique in very complex ways, with psychopathic killers replacing detectives "as agents of revelation in a world where redemption no longer seems possible".
As a generic term, detective fiction refers to a narrative whose principal action concerns the attempt by an investigator to solve a crime and to bring a criminal to justice. It poses two questions for readers: “ Whodunit? ” and “ Who is guilty? ” 哇照這個定義我這個讀者全然不合格XDDDD
In the Green Machine there is no mercy; we make mercy, manufacture it in parts that have overgrown our basic reptile brain. There is no murder. We make murder, and it matters only to us.
Hilfer ’ s argument is that crime fiction genre defines itself in opposition to detective fiction by violating the basic laws of its predecessor. The dominance of plot gives way to a focus on character and psychology, while social and moral norms are engulfed by deviance.
Malmgren (2001) links these changes to postmodern culture ’ s questioning of justice, identity, and representation, notions that are shown to be relative and unstable.
Several of the major studies of detective and crime fiction published in recent years have built on these insights and have added substantially to the understanding of crime narratives that marginalize the figure of the detective or in which the investigative element disappears altogether. 嗯，我的研究入門是偵探小說和後現代小說。教我的研究方法的兩位教授喜好都偏後現代文學。
"I was in the Commandos, bud. They don't take you if you're just a piece of fluff. I got badly hurt and it wasn't any fun with those Nazi doctors. It did something to me."
"I know all that, Terry. You're a very sweet guy in a lot of ways. I'm not judging you. I never did. It's just that you're not here any more. You're long gone. You've got nice clothes and perfume and you're as elegant as a fifty-dollar whore."
"That's just an act," he said almost desperately. "You get a kick out of it, don't you?" His mouth dropped in a sour smile. He shrugged an expressive energetic Latin shrug. "Of course. An act is all there is. There isn't anything else. In here-" he tapped his chest with the lighter-"there isn't anything. I've had it, Marlowe. I had it long ago."
“If I was going to be a woman, I would want to be as beautiful as possible. And they said to me, ‘Uh, that’s as beautiful as we can get you.’ And I went home and started crying, talking to my wife, and I said, ‘I have to make this picture.’ And she said, ‘Why?’
And I said, ‘Because I think I’m an interesting woman when I look at myself on screen, and I know that if I met myself at a party, I would never talk to that character because she doesn’t fulfill, physically, the demands that we’re brought up to think that women have to have in order for us to ask them out.’
She says, ‘What are you saying?’ and I said, ‘There’s too many interesting women I have not had the experience to know in this life because I have been brainwashed.’That was never a comedy for me."
I have no power to change you or explain your ways Never believe a man can change a woman Those men are pretenders who think that they created woman from one of their ribs
Woman does not emerge from a man's rib's, not ever, it's he who emerges from her womb like a fish rising from depths of water and like streams that branch away from a river It's he who circles the sun of her eyes and imagines he is fixed in place
The Demolished Man (1951) The Stars My Destination [aka Tiger! Tiger!] (1956) The Dreaming Jewels (aka The Synthetic Man) (1953) More Than Human (1953)
Compulsive Killers: The Story of Modern Multiple Murder [Elliott Leyton, 1986] Serial Killers [Joel Norris, 1988] The Lust to Kill: Feminist Investigation of Sexual Murder [Deborah Cameron, Elizabeth Frazer, 1987] Seductions Of Crime: Moral And Sensual Attractions In Doing Evil [Jack Katz, 1988]
American critics have related the hard - boiled detective's moral values to the violent frontier code of conduct prizing self - reliance, individualism, and resilient maleness.
Questions of Genre
第一反應是，言情對我來說是差不多是羅曼史(主題環繞在愛情上)，基本上我會歸類在羅曼史的就會覺得是言情。不過後來想想，羅曼史是個很西方的分類，金瓶梅和源氏物語有自己的文化傳統，放到羅曼史不一定合。
(類型背後的問題很大，而且要談大概會有文學類型還有商業上出版與觀眾的問題，但我現在只想腦袋放空倒在地上裝死OTZ)
我可以跟小U聊這部份。但不曉得自己觀點跟別人觀點會不會有出入。
現在再回頭看，言情小說的歴程也很特別，幾乎都是在反應當下時空背景的女性遭遇，最初會寫小說的本身都有家底，但會有點像是大家閨秀，慢慢的菟絲花出現，後來盛產無作為女主角，接著是攀附黑道的執著型角色，再更後來的成為少奶奶的醜小鴨，有一段時間爆炸式的出現獨立自主會不屑一切的女主角，接著大量被貝勒爺強搶的民女，又再來的不讓巾幗不讓鬚眉的俠女，又轉回到無作為看清人世一切的女主角。巴啦巴啦巴啦。
之前讀羅曼史類型研究的時候，羅曼史是一個超大的類型傘。尤其是哥特/誌異羅曼史，源起於英國，恐怖、懸疑、偵探、推理、科/奇幻全都算是它大傘下的分支。所以其實suzie那噗提到的作品，除了明顯有文化背景的金瓶梅和源氏物語，還有出版時是浪漫時期但羅曼史類型還未成形的少年維特的煩惱，剩下只要作者明顯就是拿談情說愛當故事主軸(不論故事主旨)，我都會考慮放到羅曼史分類下面......
中國言情小說史？
瓊瑤不意外，回溯了一下出版歴程，她的著作出版時間好像還比言情出版社再更早一點，那時皇冠培養的就是這一類型大家閨秀作者。
菟絲花角色比較類似影劇「玫瑰瞳鈴眼」這種較偏向寫實的人物，會談及社會險惡面，比如惡婆婆、惡小姑、有政治法律背景的丈夫之類。我的印象是這類主角的出現曇花一現，應該是眷村背景影響居多。
無作為不是真的沒作為，而是這種角色通常活在泡泡糖裡頭，只是作者的期望人生投射，就是那種哭笑都很用力但不知道她活著有什麼目標的平板人物。
攀附黑道的稍後再說。
成為少奶奶的醜小鴨一般會加上未婚媽媽與被誤解拋棄或者一夜情再或者她就是想要個小孩的設定。
獨立自主不屑一切應該是到了近期已成為典範人物的女角，她通常就是作者的化身、作者的代言人。
俠女與民女是非常基礎恆定存在。
之前有一派作者在酸，愛寫什麼題材是她們的自由，社會責任不該由她們背負。這話乍聽起來並沒有什麼錯，不過我要講一下言情小說曾有過一段是黑道主角非常盛行時期發生的情況。
在這種家庭中成長，通常男主角不會歪，他有他的格調與俠義柔情，他對女性異常尊重，他也有絕對的忠誠，黑不再是黑，它有了它的光環加持。
印象應該是皇冠先這麼做，言情小說出版社才意識到可以這麼做。不過那是約莫幾年後的事，而這後來的事被出版社發現是成本獲利決定性關鍵，所以再記一下，如果後續還有談論空間，來跟小U聊租書店與出版社之間的共生共存機制。
冠名八卦的這幾個作者是頭一二三批闖出名號，那時作者沒有海量多時，出版社應該是還沒有意識到可以做銷量成本考量，簽約這件事也不太確定是不是有加註到類似條款：如果作者你不打算在我這家出版社投稿，你也不能用相同名字去投其他出版社的稿子之類，我知道的是有快手作者會同時跟兩三家配合，名字則不同，避免小編難做人。
那時的出租店快速篩選的方式之一，是將書放在架上，如果有人租了就留下來，沒有即退。
之二，是看作者熟不熟悉。
博客來-作者-葉小嵐
作者54題 NEW ASK GAME FOR WRITERS 來源： http://ibuzoo.tumblr.com/post/...
啊，拜託，可以不要嗎？我和我同學那時候慘叫最大聲、拼命祈禱千萬不要在第二季出現的東西......
......但大概是因為我看過林區幾部片還有他的影集，以我認識的導演風格來說，介紹林區電影的時候暴雷有點難免？而且他的電影重點其實不是劇情。他的電影架構真的像夢境，必須結合裡面所有元素才稍微拼湊得出電影在講什麼。像橡皮頭，我的教授當初放了快半個小時的片段，我才看出那個瘋狂尖叫的東東代表什麼。演講時間有限又考量到觀眾不一定看得懂(當時老師放半小時就罷的原因是在課堂上有同學臉色慘白，看得很驚嚇，看不懂也不想懂，只想離開)，直接點出來我自己是可以接受。
哇看到這個徵搞一秒笑出來，笑完又覺得很恐怖。太貼切了。
出現了聊Mr. Robot的專書。不過書評反應好像普普。
這是大宇宙的意志吧。
沒啦，我雷是覺得目前有些地方明明就不用拖那麼長或演到那麼明白，白到太過了。正在觀望是不是蓄意為之。
Martin Scorsese Teaches Filmmaking
這本的介紹好狂。決定放待看清單。
我喜歡！
Female serial killers in the United States: means, motives, and makings
是照州名在算術啊。佛羅里達州一州就有515個超越英國總和是怎麼回事？！難怪Dexter裡頭會吐槽說佛州是很適合他的地方。
大英圖書館的記錄。
我看完了((夜眼在原文的吐槽好棒啊。為什麼我讀翻譯的時候完全感覺不到那種幽默感......))
學者R. F.Stewart推測detective fiction這個詞應該誕生於1886年十二月的Saturday Review。
日治時期小說中的三類愛慾書寫：帝國凝視、自我覺醒、革新意識
性擇論與色情：評析研究者如何挪用演化論術語傳達性別刻板印象
But you can change the facts
And when you change the facts
You change points of view
If you change points of view
You may change a vote
And when you change a vote
You may change the world
I hear him laugh softly to himself, and in that laugh are things that are tender and things that are harder, meaner, truer. It is both at once. Always both at once.
Die A Little by Megan Abbott
這也太美了吧！我看過改編的電影，但沒看過原著小說。
Nightmare Alley by William Lindsay Gresham
哇照這個定義我這個讀者全然不合格XDDDD
不過其實間諜類型的解謎成分挺高的。
好像真的是這樣。我到後來真的開始歸類喜歡的元素才發現，我似乎就是對傳統推理的這點過敏，最後大量讀的都偏犯罪類型，不太能歸在古典推理。
我發現台灣推理作家協會的英文是用解謎(Mystery)耶。
這個時間點出這本真的......不是很好。(嘆氣) 然後我想吐嘈文案啊。OTZ
我想聽那場，不過時間不允許。唉。(我持精神分析，應該會和他的行為分析觀點差很多XD)
是不太合的兩個學門XDDDD
搜尋路上找到一本免費書。
這題目好有趣。待看。
嗯，我的研究入門是偵探小說和後現代小說。教我的研究方法的兩位教授喜好都偏後現代文學。
免費電子書。
"You get a kick out of it, don't you?"
His mouth dropped in a sour smile. He shrugged an expressive energetic Latin shrug.
"Of course. An act is all there is. There isn't anything else. In here-" he tapped his chest with the lighter-"there isn't anything. I've had it, Marlowe. I had it long ago."
Feminist Perspectives on Reproduction and the Family
From Klein to Kristeva: Psychoanalytic Feminism and the Search for the "Good Enough" Mother
我晚點再把它貼回去OOOTZ
跟文字不太一樣。
對了，這是我的電影評論。」
XDDDDD
or explain your ways
Never believe a man can change a woman
Those men are pretenders
who think
that they created woman
from one of their ribs
it's he who emerges from her womb
like a fish rising from depths of water
and like streams that branch away from a river
It's he who circles the sun of her eyes
and imagines he is fixed in place
這個時間......看不到啊！T_T
The Stars My Destination [aka Tiger! Tiger!] (1956)
The Dreaming Jewels (aka The Synthetic Man) (1953)
More Than Human (1953)
Serial Killers [Joel Norris, 1988]
The Lust to Kill: Feminist Investigation of Sexual Murder [Deborah Cameron, Elizabeth Frazer, 1987]
Seductions Of Crime: Moral And Sensual Attractions In Doing Evil [Jack Katz, 1988]
金馬......電鍋？
(不劇透，不過這部可能會挑戰一些人的底線，可能要事先查查tag)
(拜訪者Q也超棒！)
喔！
Managing Media Work
Contemporary Hollywood Cinema
Making Media Work: Cultures of Management in the Entertainment Industries
1978-1987 (Plurk Paste)